Erich Kleinschuster Vol.3: Jones, Hampton, Farmer ( 1968-71) Wallen Bink (2022)

Selection 1: Carmel Jones  And Things Will Change

.  .  . 

Selection 2: Art Farmer Red Jeans

.  .  .


Erich Kleinschuster, trombone; Carmell Jones, trumpet; Slide Hampton, trombone; Art Farmer, trumpet; Palle Mikkelborg; trumpet; Robert Politzer;trumpet; Hans Salomon, tenor/alto saxophone; Fritz Pauer, piano, Fender Rhodes; Jimmy Woode, bass; Peter Marshall, bass; Erich Bachträgl, drums, percussion.

Recorded 1968-71 at ORF Studios, Vienna, Austria:  October 9, 1968, December 5 and 14, 1968, January 9, 1969, March 26, 1970, March 13, 1971. Mastered from original tapes and lacquer cut at Abbey Road Studios, London, UK, 2022, pressed at The Vinyl Press, UK


6tet with Carmell Jones 1969
1.1 And Things Will Change 6:45
1.2 Fantangolin 6:19
1.3 The J-Dance 6:08

6tet with Slide Hampton 1968
2.1 Soul sides 4.59
2.2 Wide Slide 7:01
2.3 T.E.E. 3.34
3.1 New World 4:36
3.2 O.K. Persson 11:01
3.3 Spain 2:44

6tet with Art Farmer 1968-71
4.1 Eau Sauvage 3:58
4.2 Red Jeans 8:07
4.3 Alisarb 3:25

Late 60s European Jazz Scene

  1. Viennese Art

Having acquired a taste for Sacher-Torte and Strudel, Art Farmer relocated to Vienna, Austria in 1966, making many recordings in Europe, collaborating with Fritz Pauer, Harry Sokal, Erich Kleinschuster,  working with the ORF and Clarke-Boland big bands, in which European and US jazz diaspora mingled. (Below, ORF Big Band, Farmer centre, dark hair, shades), and Francy Boland BB line up, The Jazz Diaspora.

Vienna and its radio station ORF was shaping up to be a leading cultural flagship, with contemporary artist jazz broadcasts. Austrian jazz and classical composer/producer and pianist Freidrich Gulda recruited a galaxy of jazz stars to play in Vienna concerts for radio broadcast. Example:  Konzerthaus, Vienna, May 27, 1966, radio broadcast by Friedrich Gulda’s Eurojazz Orchestra and Guests Live, the lineup included Tubby Hayes and Ronnie Ross, Cannonball Adderley, Kenny Wheeler, and Ron Carter.

Steins all round! 

Friedrich Gulda (ldr), Rolf Ericson, Ernie Royal, Kenny Wheeler (t), Art Farmer (fh), Ray Premru (btp), J. J. Johnson, Erich Kleinschuster (tb), Rudolf Josel (btb), Ralph Isakson (frh), Alfie Reece (tu), Julian ‘Cannonball’ Adderley (as), Herb Geller (as, f), Hans Salomon (as, ts, bcl), Tubby Hayes (ts, f), Ronnie Ross (bar), Pierre Cavalli (g), Friedrich Gulda (p, con), Josef Zawinul (p), Ron Carter (b), Mel Lewis (d)

Farmer pops up everywhere in Europe: Croatia, Munich, Paris, London (Ronnie Scotts) Sweden, Finland, Zagreb Big Band – Ljubljana Yugoslavia, much of the time, big band for radio and TV broadcast unissued on record, which is where these ORF/ Kleinschuster Sextet recordings fit in context.

2. Carmell Jones

Trumpeter Carmell Jones “would probably have been better-known today if he had not moved to Europe in the mid-’60s, at the height of his career, relocating to Berlin”. Prestige released one of his few recordings from this time, Carmell Jones In Europe; 1965-66, with Nathan Davis, recorded at the MPS Schwarzwald Black Forest studios

His sessions with Kleinschuster in 1969 pay testament to his fine technique. He tried to re-launch his recording career in the US in the early ’80s, but by then, the boat had sailed.

3. Slide Hampton

Trombonist Slide Hampton settled in Europe 1968-77. He made a handful of recordings for French labels, one paired with heart throb singer and guitarist Sacha Distel, an inevitable Euro-trombone workshop, Czech big band, and a joint production with fellow Kleinschuster guest Dusko Goykovich, on leave from Clarke Boland B B.

Slide returned to the US in the late 70s with few recording prospects, the trombone stepped back from the front line of small groups, returning to its home in the big band brass section. Slide’s early recording credentials stood him in good stead for an academic University teaching post.


Like the other two volumes, this third ORF volume consists of America-centric mid-60s mainstream jazz, nicely played, and beautifully recorded.

Art Farmer will be a familiar trumpet voice to many, Carmell Jones perhaps less, so but a strong session from Jones. His tone is bright, his articulation fluent, with a muscular underpinning, and an endearing vibrato holding the sustain in the final note of a phrase. He made a big impression in West Coast circles, but the world of the early Sixties must have seemed awash with good trumpet players. Jones took his chances, moving to Germany like his fellow trumpet player Jon Eardley, leaving behind just a handful of recordings.

Introducing trombonist Slide Hampton as guest of a trombone-led sextet was always going to be something of a challenge.  Seventy-Six trombones is easy, two less so. Does the leader sit out? Who takes the solo? Can you tell which ‘Bone is which? 

Compared with the speed of saxophone and trumpet playing, the trombone is ponderous, linear, better suited to harmony and texture. The Vienna solution was to vary the mood and tempo of each of the six Hampton tracks: a light swinger, an up-beat ensemble, through to menacing aggression, with solos from other members of the sextet to take the focus sometimes off the trombones. On the whole it works probably better than it should. 

Vinyl: Kleinschuster 6tet Volume 3: WB016 2×12″ LP


Harry’s Place

Jazz-paparazzi Harry M pulls up his time-travelling limo at Montreux 1970 again, throws parking lot attendant the keys. I’ll pick them up in 1971 thanks.

Montreux: Art Farmer (1970); Erich Kleinschuster, Hans Salomon, and Slide Hampton (1970)

Photo credits: © Harry M

Collector’s Corner

New in the LJC mailbox this week, review copies of two new releases by UK new-comers New Land, both “mastered from the original analog tape transfers by Kevin Gray”  (not sure what  the qualifier “transfers” means in this context) Great to see the number of new record producers who speak the all-analog language. 

At the start of the Seventies, Blue Mitchell declined to be absorbed by the jazz-rock blob, said no to wurst and sauerkraut, Yurup was not for him. Instead Mitchell decided to keep going and just do more of the same, delivering Soul Village for. Mainstream records.

Dusty Blue has been a long time coming to the reissue schedules. A classic album from 1961, one of McGhee’s rare appearances outside The Big House, supported by a wonderful line up including Tommy Flanagan, Ron Carter, Pepper Adams and Benny Green. 

Reader FreeJazz has come up with the goods – a rip of the original Bethlehem edition Whoopee!  I love it when a plan comes together.

Detailed review and shoot-out will follow in this week’s Friday post.




4 thoughts on “Erich Kleinschuster Vol.3: Jones, Hampton, Farmer ( 1968-71) Wallen Bink (2022)

  1. I purchased all 3 of these sets and have nothing but bad luck with them, it seems. Both records in the third set were so badly warped that I didn’t even bother playing them. I attributed it to the summer heat and requested a replacement. I received the replacement, and both records are relatively warp free…however, I’m experiencing some serious distortion, especially on record two, side two. I can hear it in the audio clip of “Red Jeans” that you posted above – it becomes very noticeable around the 5 minute mark. The next song, “Alisarb,” is virtually unplayable on my copy of the record due to the high level of audible distortion on it. Do you hear this on your copy?

    I also hear significant distortion on several other sides across these sets, but nothing as severe as what is heard in “Alisarb.” I don’t have these types of issues playing any other records in my system. This, coupled with the fact that other people are experiencing similar issues, means that it must surely be a pressing issue of some sort. Very frustrating, as the music and mastering is superb, and the packaging is top notch. Sigh…

    Very, very frustrating.


    • 180gram pressings generally are very stable and don’t warp. Mine were fresh from the factory and perfectly flat and stable. Points to exceptional factors not the general factory output. As regards distortion, the most likely culprit in these types of sessions is the original radio station recording, not “faulty mastering”. Personally I’m not bothered about a little distortion, but I appreciate it upsets some people severely. I have no dog in this fight, if you are not happy with the product please take it up with the manufacturer.


    • That would be brilliant if you are able to. I have only a UK Parlophone to compare this 2022 reissue. I need a reference point – the Bethlehem original,
      UPDATE: Rip received; we have a Bethlehem original for the shoot out!


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